The rehearsals for the WCC Spring 2020 "Broadway of Thee We Sing" concert season began Monday, January 27, 2020 7:30 pm. The music for this concert season has been finalized. Samples of the music are available now here on the WCC website under the "Songs we're singing" for you to preview and enjoy.
Auditions are not required to join the choir. Please arrive early (7:00 PM) to register for membership and to meet with your friends both old and new. Everyone who wishes to participate including former members must register even if you sang last season. You may take the music home with you after rehearsal if you have registered and paid your membership registration fee otherwise you must turn the music in before you leave when the rehearsal is concluded. Another benefit of paying your registration fee entitles you to receive a free sample recording on a CD of all the concert music we will be singing this season. If you wish to have a copy of the music samples placed on a UCB thumb drive bring your own thumb drive with your name on it and give it to the director who will then copy the music to the drive for you and then return it to you.
Registered members should write the selection numbers on the front of each piece as will be indicated below or from the Concert Order document that you will also receive. The reason for this is that after the first rehearsal the music will very likely not be worked on in order. This will allow the music to be apportion allowing rehearsal time to be as even as possible. Numbering the selections will make it easier to quickly find what you need during the rehearsal. If we happen to run out of music packets more music will be ordered, and it should arrive within a week to ten days.
Full sample recordings of all the songs on our concert program are available on this website under "Songs We're Singing" and on a sample music CD that will be provided once you have registered. Optionally you may have the music copied to a UCB thumb drive that you must provide. The following is a listing of the songs in concert order of the choir selections.
1. Sabbath Prayer (from "Fiddler on the Roof")
2. Somewhere (from "Westside Story")
3. Opening Up (from "Waitress")
4. I See Stars (from "Mean Girls")
5. Part of Me (from "Dear Evan Hansen")
6. Razzle Dazzle (from "Chicago") *
7. Monster (from "Frozen")
8. A Whole New World (from "Aladdin")
9. Proud Mary (from "Tina: The Tina Turner Musical")
10. The Music of the Night (from "The Phantom of the Opera")
11. If You Don't Know Me By Now (from "Ain't Too Proud: - The Life and Times of the Temptations") *
12. Popular Song (from "Wicked")
13. Circle of Life (from "the Lion King")
14. Dear Theodosia (from "Hamilton")
All selections will be directed by the Resident Musical Director Lee Irwin Culbreth or the *Assistant Director George Boyd
rehearsal #1 on January 27
Registration, distribution of music packets. Greetings and general information. Presentation of all music selection
How the Voice Works - click to view video.
There were about 30 people in attendance and we reviewed all of the selections on the program (except #3 which is on back order) mostly with the sampler recordings but a few without using the recording. It is highly recommended that spending some time with the sample recordings will help a lot with learning the music. Some of the selections that have a lot of words at a fast rate may require some extra individual attention to at least familurize yourself with the words if not memorize them.
Next week we will review a few selection and then focus on #'s: 10 & 5.
rehearsal #2 on February 3
Happily we received the final selection that was missing the week before. Reminder if you have not already done so, be sure to number your music according to the program listing sheet you were given. Reviewed selections #'s: 1, 2, & 3.during which George expressed concern about proper treatment of diphthongs (Technically, a diphthong is a vowel with two different targets: that is, the tongue [and/or other parts of the speech apparatus] moves during the pronunciation of the vowel. In most varieties of English, the phrase no highway cowboys has five distinct diphthongs, one in every syllable.) After that we focused on selections 10 & 5, We did not quite finish with #5 so we may spend a little extra time on that next week.
The rehearsal each week will begin with a review of the selections focused on the previous week (Note: during the review no attempt to fix problems will be made but the problems will be noted for attention at a later time).The focus for the next rehearsal will be .#'s: 13, 14, & 4.
rehearsal #3 on February 10
We were working under a bit of a handicap without an accompanist, so we resorted to working with the sample recordings. We spent the bulk of the time focusing on selection #'s: 13, 14, & 4. In #13. We spent a lot of time working on the rhythm in measure 9.of selection #13.In #14 be careful to wait for the "and" of the beat to attack the note in measures 31 & 35 for example. Selection #4 has a lot of syncopation but generally went well.
The focus for the next rehearsal will be 9, 11 & 12..
rehearsal #4 on february 17
With the return or our primary accompanist from her vacation we went straight to work right after the warm-up and review focusing on selections 9, 11 & 12. Ran a little over time on #9 which caused time to run a little short on #12.which has a lot of fast phrases with many notes. We took a moment to recognize a couple of birthdays. Which we will be happy to do for anyone else if given notice before rehearsal begins or at the end of the previous rehearsal.
The focus for the next rehearsal will be 8, 7, & 6
rehearsal #5 on february 24
It was good to have Marie join with us for the first time this season. After reviewing last weeks selections we proceeded to focus on 8, 7, and 6. There were just a few minor rhythm issues with 8..For number 7 the challenge will be negotiating multiple time signature changes and primarily to '"feel" the 7/8 time signature pattern. Number 6 should be easy to pick-up once you get the "soft-shoe" jazz feel and the chromatic note sequences.
The focus for the next rehearsal will be 2, 3, & 1.
Reminder the Master Rehearsal plan can be found at the bottom of the Rehearsal Information page.
rehearsal #6 on march 2
George was unable to attend due to a work commitment. After reviewing 8, 7, & 6 and as you might imagine #7 is going to require a lot of attention in the coming weeks. We then proceeded with focusing on selections 2, 3, & 1, which were no particular problem except that #3 will also require some extra attention with lots of words at a very fast tempo. At this point we have completed an initial focus on each selection on the program and as noted there is still much work to do particularly on #3 and #7. So please spend some time listening and singing along to your sample recording CD. The more times you hear it and sing along the easier it will become.
Next week the rehearsal will be a full review of the full program in concert order.
rehearsal #7 on march 9
The rehearsal went surprisingly well. Granted we still have a lot of work to do. Keep up the good work listening and singing along to your sample recordings and to those meeting before rehearsal to do some extra work to prepare for the selections scheduled for focus. We of course appreciate our accompanist and it was nice to have our fiddle player and electric bass player on board this evening as well.
It was announced that the Line Solo tryouts have been postponed and will be held following the rehearsal on April 13. Feature tryouts begin next Monday following the break with up to 3 tryout slots evenly spaced each week through April 13.
As we begin our second round of focusing on each individual selection the Focus next week will be selection #'s: 5 & 10
rehearsal #8 on march 16
Rehearsal has been cancelled.
Next week rehearsal also cancelled:
rehearsal #9 on march 23
Rehearsal #10 march 30
Next week the focus will be determined
NOTICE: We still need a backup accompanist . Please let the music director know if you happen to know of someone that can help out as assistant accompanist.
Line solo and feature tryouts
Many of the selections on the program have an indicated solo, duet, and small group opportunities. It is not required but highly recommended that these be memorized. These will be filled by people willing to tryout in an audition process and that have been selected by a panel of peer judges. Ideally there will be a primary and a backup for each solo voice part chosen from those who tryout and are given the highest number of votes from the peer judges. Until such time as a selection has been made or if no suitable candidate is selected through the audition process the line solos are to be sung by the appropriate voice section within the choir.
Selections with line solos:
#1, #3?, #4, #5, #8, #9, #11, #12, & #14
None selected as of yet
A Feature may be a single voice or any size ensemble of voices and may include special instrumental accompaniment. As with Line Solos, Features will be selected through the audition process. Vocal parts of Features must be fully memorized and concert ready at the time of the audition. Features for this concert will be limited based on the total length of the Feature selections accepted. A Feature must be unique and not a repeat of one of the choral selections or another Feature. It must be in keeping with the currently running Broadway Musical theme. You must sign-up by the deadline to tryout for a feature.
During the weeks prior to the audition for Line Solos any and all that have an interest may sing the solo lines during rehearsal. Apart from that each candidate and in particular those interested in trying out for a Feature is responsible for preparation on their own time. Feature candidates are responsible for arranging time to meet with the primary accompanist or accompanist of your own choosing. Line Soloist are responsible for coordinating time with either the primary or other accompanist to work with them on their Line Solos.
Auditions will be held on the specified date indicated in the schedule of events following a shortened rehearsal. Please note that the auditions frequently go much later than the normal rehearsal ending time. If there are extenuating circumstances that would prevent you from participating in the audition on the indicated date contact the Resident Musical Director in advance for approval to audition on the week following the scheduled audition date. The scheduled audition may possibly be extended into the following week if the audition process begins to run too late. All candidates are judged by a panel of volunteer peer judges. The final decisions for Line Solos will be made by the Director that is conducting that selection on the program and will be based on tally results from peer judges. The decision for Features will be made by the Resident Director and will be based on the results of the peer judges tally sheets within the limits of the allotted time for Features. In some cases a candidate may be tagged by the musical director for a Line Solo that they did not audition for based on their audition results for another Line Solo or in some cases their singing reputation .
Any member of the WCC choir may volunteer to serve as a peer judge except those that will be auditioning. Those trying out for a Line Solo but not a Feature may serve as a peer judge for Feature tryouts only. Likewise anyone trying out for a Feature but not a Line Solo may serve as a peer judge for Line Solos only. Peer judges will be expected to participate for the full session however late that might be to include the extended week if necessary. A tally sheet will be provided to each peer judge. There will be space on the tally sheets to allow you to add notes about each audition that may help you decide later how to rank them. At the very least the peer judge will be expected to rank each candidate for a specific Line Solo as a 1 for the candidate they believe is the best choice, 2 for the second best choice, 3 and so forth for all remaining candidates for the specific Line Solo. For Feature auditions the candidates are expected to be superlative and not just average or worse. In a manner similar to Line Solo auditions rank each Feature candidate as they compare to all other candidates. One final thought on judging the candidates we do not necessarily have to have a Line Solo or a Feature. If you feel a candidate is not outstanding just leave the ranking blank. We are looking for something that will wow or at least impress the audience not just fill a spot just for the sake of filling a spot.
spring concert attire
Concert attire for Spring season is black trousers (pants) with length that touches top of shoes. Black belt, black socks (black hose) and black shoes. The top will be a new polo shirt design. Details to be announce later.
Just a little discussion about rehearsal etiquette. First of all we do want you to have fun and enjoy yourself during the rehearsal but keep in mind that the primary reason for being there is to sing not talk. So, for that reason you are strongly encouraged to come early to make and visit with friends before the rehearsal begins. You also have an opportunity to visit during the break and immediately following the rehearsal. Once the rehearsal begins please do not talk particularly immediately after the director stops the music to make a comment. Frequently a lot of people will blurt out comments which are lost in the clamor of noise as several people try to speak at once. Best practice is if you have a question or have an additional comment to make about the music please wait to be recognized by the director. Just a reminder from your perspective it may not seem disruptive if you begin to speak to your neighbor softly but in fact no matter how quietly you speak it impacts the noise level in the room even if you speak very softly and the more people that speak at the same time the louder the noise level gets. So once again please quell the urge to talk while the rehearsal is in progress.
Thank you for your cooperation.
some music reading basics
Musical notation is done on or about the musical staff which is made up of 5 closely parallel lines. In choral music the staffs are most often treble (or G clef) and bass (or F clef) as indicated as follows respectively:
There is also a third clef called the C clef but since it is not used in any of the selections on our current program we will not discuss that here.
The piano or keyboard accompaniment part is usually written on the grand staff made up of the combination of the treble and bass staffs as follows:
rehearsal #11 april 6
rehearsal #12 april 13
rehearsal #13 april 20
rehearsal #14 april 27